| Preface | p. ix |
| Acknowledgments | p. xi |
| Note on Transliteration | p. xiii |
| An Open Aesthetics | p. 1 |
| Why There Is Art | |
| The Aesthetic Dimension of Life | |
| Being Aware | |
| Seeing | |
| Remembering | |
| Preferring | |
| Forgetting Self | |
| Grasping | |
| Theorizing | |
| Selfless Tradition | p. 73 |
| Tradition, Traditionalism | |
| Problems Anthropologists Encounter and Create | |
| The Anthropology of Art | |
| Ceremonial Celebrations of Life | |
| Memory Preserved | |
| Authenticity | |
| Ephebism | |
| Four Symbolic Images | |
| From Apprentices to Masters | |
| Exacting Rules | |
| Classicism and Archaism | |
| Chinese Connoisseur, Archaist, Collector | |
| Creative Copying from the Chinese Past | |
| Classicism in European Art | |
| Creative Copying from the European Past | |
| The Ideal of the Anonymous Craftsman | |
| The Metaphysical Ideal | |
| Egocentric Innovation | p. 181 |
| Egocentricity against Tradition | |
| Inspiration, Heroism, and Uniqueness | |
| Islamic Hero-Artists | |
| Hero-Artists of the European Renaissance | |
| "Genius" | |
| Genius, Melancholy, Madness | |
| The Romantic/Egocentric Artist | |
| Chinese Romantic/Egocentric Amateurs | |
| Indian Romantic/Egocentric Artists | |
| "Primitive" Romantic/Egocentric Artists | |
| African Artists' Creative Egocentricity | |
| All Alike, All Different | |
| Intersecting Worlds and Identities | p. 264 |
| Creative Chaos | |
| The Camera's Liberating Light | |
| Historical Relativity | |
| The Encompassing Influence of Japan | |
| Gauguin and Other Savages | |
| European Borrowing | |
| Japanese and Chinese Borrowing | |
| The Excessive Past of Chinese and Western Art | |
| Symbolic Deaths and Erasures of the Past | |
| Modern "Primitives": Creating and Debating Identities | |
| The Common Universe of Aesthetic Discourse | p. 360 |
| Human Perceptual and Emotional Responses | |
| Old and New Criteria of Judgment | |
| Fame and Price | |
| Diminishing the Subjectivity of Judgment | |
| Local Art and Universal Art | |
| Judging Art Fairly | |
| Fusion, Oscillation, Realism, Equilibrium, Beauty | |
| The Snow Woman as a Universal Paradigm | |
| The West: Intimations of Neoplatonism | |
| Africa: Statue-like Beauty and Goodness and Clarity | |
| India: Depersonalized Emotion | |
| China: Reverberations of the Life-Breath | |
| Japan: Beauty Tempered by Regret | |
| The Common Universe of Aesthetic Discourse | |
| Final Thoughts | |
| Notes | p. 439 |
| Index | p. 521 |
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